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Robin Thicke and Angie Everhart Among Tourists Rescued From Hurricane-Hit Mexican Resort

By:
WENN.com
Sep 18, 2014

WENN/Sakura
Singer Robin Thicke and actress Angie Everhart are among the tourists who had to be rescued by Mexican military officials on Tuesday (16Sep14) after Hurricane Odile cut short their vacations in Cabo San Lucas.
The Category 3-level storm ravaged the Mexican peninsula when it hit on Monday (15Sep14), leaving an estimated 30,000 vacationers stranded in the coastal resort. Local authorities advised U.S. citizens to make their way safely to local airports, where Mexican government officials had organized for military evacuation flights to take travellers home.
Thicke, who had been vacationing with his son Julian and the tot's nanny, and Trigger Happy star Everhart, both took heed of the advice and waited patiently in line to be flown out of the disaster zone. According to TMZ.com, they were not given any special treatment and boarded a plane on Tuesday.
The flight had a layover in Mexico City before heading on to Los Angeles, where the aircraft landed on Wednesday (17Sep14). Thicke and Everhart weren't the only stars to be affected by Hurricane Odile - rocker Sammy Hagar had to scrap plans for his annual birthday bash in Cabo San Lucas after his holiday home, his Cabo Wabo Cantina and the local airport were seriously damaged in the natural disaster.

British actor Richard E. Grant is convinced therapy sessions saved his life when he was battling a dark bout of depression. The Gosford Park star, 56, struggled with mental health issues 12 years ago, but recovered with the help of psychoanalysis, and Grant is adamant he would not have been able to move forward without professional help.
He tells Britain's Sunday Telegraph, "(I suffered depression) just once, when I was 42... I got it sorted. I saw the most brilliant psychoanalyst. It saved my life. What I took from it is that if someone is in trouble, ask for help. There is help everywhere, but if you bottle it up, that seems to be... fatal, to me."
When asked whether he fears playing dark roles could trigger another bout of depression, he adds, "If you're playing somebody like that, you can be affected while you're shooting - but when it's scripted depression, it's a whole different thing, because you are going there willingly, by choice. It doesn't come anywhere near the doubt you have when you're unemployed, or the kinds of doubts that come into your head that you can't control. But that's what all of us face."

AMC
Mad Men might be at its best when it drives bleak, but there's something to be said for the cheeky side of the series too — the side willing, just a week after showcasing the visceral breakdown of its two main characters, to treat them both to the traditions of Three's Company. The second episode of Season 7 forces Don and Peggy deeper into the marshlands of misery, with one succumbing to the weight of the swamp after a decade of casual treading, the other flailing in panic and grabbing for any semblance of a stable root... like that of a rose, for example.
The first Jack-and-Crissyan wacky misunderstanding of that Mad Men borrows from sitcom lore this week is Peggy's identification of an unmarked bouquet of roses to be a gift to her from Ted. Although she responds with a delivery of hot bile to her undoubtedly confused colleague, Peggy is grasping desperately for the possibility that on this Valentine's Day in 1969 she has been considered. Unlucky Shirley, Peggy's secretary, is the secondary victim of this mixup, as the flowers were hers, sent from a loving fiancé — the primary victim, of course, is Peggy.
As confidently as Mad Men seems to be handling Peggy's ascension toward a Draper-level isolation, her sudden bout of insolence (notably when she explodes at Shirley for revealing the true origin of the roses) comes off a few leagues less interesting than the fashion in which we've seen the series handle emotional self-sabotage before. Granted we're expected to follow Peggy to, toward, or (hopefully) around a platform in just one season that took the show six to reach for Don... and, admittedly, maybe it's just the additional unpleasantness that comes with watching a favorite character like Ms. Olson decay. But we can hope that Peggy's turn this week is just a glimmer of a rock bottom that we can watch her work to avoid in the episodes to come. And if she must hit, then at least let the trigger not be a bouquet of roses.
Wacky mixup number 2 is of the "overheard phone call" variety, with Roger dismissing L.A.-based Pete over a wonky cross-country conference call as the troops led by Harry Hamlin (I'm not sure I'll ever be able to learn his character's name) determine that Campbell's latest account would be best laid in the hands of Bob Benson. Pete is up in arms, and the Roger/Hamlin dichotomy is fissuring violently as the latter takes the advantage of a Donless, Peteless office to seize control and rally all available parties (for instance, the long unappreciated Joan, who gets bumped up a league this week) to climb aboard his silver-tongued ship.
And the final trope ripped straight from the Regal Beagle: the Draper family's pyramid of secrecy. Sally, on a trip into the city to A) attend the funeral of her prep school roommate's mother, and B) ditch said sob-fest with her far out pals to go shopping in Manhattan, stops into her dad's office to get money for bus fare after misplacing her purse. Naturally, the sights of lovable ol' Lou Avery sitting pretty at the Draper desk rattles Sally, who (along with everyone else in his personal life) has no idea that Don has been saddled with a leave of absence from the company. Sally meets up with her father at his apartment, keeping it a secret that she knows of his unemployment status, while he keeps that very unemployment status a secret... until, after receiving a phone call from Dawn, he learns that she stopped by SC&amp;P earlier in the day. Naturally, he keeps this new information a secret... until Sally gets a call from Joan alerting her to the call from Dawn but keeps it a secret from Don who gets a call from Roger telling him about the call from Joan which he too keeps a secret not knowing that Sally knows that he knows that she knows that he knows until it all erupts in a scene where Phoebe kisses Chandler. Sorry, now I'm mixing up my sitcom references. In truth, the mountain of secrets stops at Dawn's phone call.
AMC
Quick diversion — Shirley and Dawn are tossed into chaos this week when their bosses (a lunatic Peggy and an asshat Lou Avery) take issue with the ladies' inability to predict Peggy/Lou's own incompetence. As such, they are jostled around the office in a subplot that plays both like a screwball comedy of errors that warrants Benny Hill music, but also like an tearfully unfuriating window into the "everyday racism," as well as class and gender bigotry, of 1969... and on. Only Mad Men can do a tertiary story this good and dense.
After the unprecedently humane ending to Season 6, which saw Don connecting with Sally in a new way over the revelation of his life story (at least pieces of it), it's a little disconcerting to see father and daughter having reverted back to the status quo, instilling the fear that, even after all of the strides taken in this episode, the same might amount at the head of the next week that we see Don and Sally together. But this concern aside, Don and Sally's road trip back up to prep school is some of the show's most favorable material in years. Don can soften at the behest of his daughter in a way that he can't for anyone else — even his sullen admission of pride for Bobby in last season's "The Flood" arrived solely thanks to a few too many drinks and the assassination of Martin Luther King. Having craved a genuine all throughout his younger years, adhered his securities to his beloved Anna Draper (whose memory was evoked this week by a scene of Pete and his real estate agent ladyfriend canoodling in an unfurnished, mid-paint job L.A. house) as some kind of a maternal figure, and "cared over" every woman he has since dated more than actually caring for them, Don has only known how to love from a safe, manufactured distance. But his bond with Sally, which we see more vividly than ever in this episode, is something he can no longer divide from.
Truths surface, from all directions, as Don drives Sally back up to school. She learns that her dad has been given the boot, he learns that she skipped out after the funeral to go shopping with her callous friends, we learn that Sally already knows the colorful tale of Richard Whitman, she learns (thanks to Don) that she might not be as cold and cut-off as she might have thought — those Drapers, always priding themselves on unclaimed emotional distance! — and he learns, in the final seconds of the episode, that Sally loves him.
With all the work done between Don and Sally in the past few seasons, this episode marking a masterful climax to the arc, I'd be satisfied if Don's final chapter is based entirely in his relationship with his daughter. Hell, her evolution past the point of his grasp and into something that is far more frightening but potentially far more rewarding mirrors the Don/Peggy rapport, although promises (now) to branch off in a more positive direction, so we wouldn't even have to sacrifice the series' favorite relationship were we to devote the majority of Season 7 to the Drapers. Whatever we see of the pair from hereon out, "A Day's Work" does very well to access the brimming pains in each party through its unique counterpart. Nobody can possibly understand how Sally Draper feels all the time but her likewise rotting dad. And — as he now learns over a patty melt and a plate of cold fries, cracking dine-and-ditch jokes , out of the job to which he pinned himself at the expense of a series of bad marriages and meaningless affairs... all, in their own right, distractions from the family he never really learned how to love — he has this same unmatched opportunity in his daughter. Funny. But not Three's Company funny.
Episode grade: A-, with bonus points for Dawn and Shirley's lyrical lambasting of their blockhead superiors.
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ABC
Now that The Neighbors has finished its second season run, fans are all a bit nervous about its propensity to return to ABC in the fall. The problem is that the show is on a network that is not known for being patient in terms of letting shows, particularly sitcoms, get past its growing pains.
The list of ABC comedies cut down before their due runs pretty long: Better Off Ted, Don't Trust the B in Apt. 23, Man Up!, Mr. Sunshine, and Happy Endings. While there are dramas that met the early axe, it seems like sitcoms have a much harder time sticking on the network. The main reason that ABC gives for getting rid of these shows is low ratings. That may be true, but they also seem to never take into account the fact that the landscape has shifted since the original three-network format. As such, other programs that proved to be formidable hits in their day might not even get the chance to blossom under this new regime. Would ABC have even let Family Matters reach the Steve Urkel stage with its present mentality?
To be fair, the other networks have been sometimes hasty on the trigger as well. Poor Matthew Perry was on an NBC show that didn't fare well either. CBS pulled a Cop Rock move on How to Be a Gentleman, sending it to the showers after only two episodes. But it just seems that the suits at ABC are the most impatient out of all of them.
The final answer to the question about why these sitcoms seem to be so short-lived: as someone once said, "Dying's easy. Comedy's hard!" It's such a broad spectrum and people have a wide range of senses of humor. What might send one person into fits of near-paralytic bouts of laughter might only elicit a chuckle from another. It's hard to cater to everyone, and it may explain why smartly-written shows like The Neighbors are living on borrowed time whereas Two Broke Girls keeps getting renewed.
So, soon we will find out what happens with The Neighbors. Hopefully this will not be its swan song and that ABC can let it flourish and grow more while showing itself to be a more patient entity. Otherwise, it may find itself continuing a bad trend of cultivating fans who are afraid to follow a show lest it get prematurely canceled. That's no fun for anyone.
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FX
In a big change of pace, Raylan Givens (Timothy Olyphant) didn't have to kill any major bad guys this season on Justified. The villains still met their end as the heroin business took its toll before sales even started. And like always, Boyd Crowder (Walton Goggins) somehow survived it all.
Season 5 of Justified leaned heavily on the dysfunction of the Crowe family. The arrival of Daryl Crowe (Michael Rapaport) and his crew caused a lot of headaches for Raylan. Daryl even joined forces with Boyd to smuggle heroin from Mexico. The newest Justified villain proved that he can't be trusted as he turned on Boyd, which made the Mexican cartel that provided the drugs angry, and worst of all, convinced nephew Kendal Crowe (Jacob Lofland) to confess to shooting Chief Deputy Art Mullen (Nick Searcy). Daryl was the man holding the smoking gun, but he'll let Kendal — a minor — rot in lockup, even if it meant he gets tried as an adult. Even for a bad guy, Daryl is a world-class lowlife.
Missed Opportunities
Justified is never short on antagonists. Many criminals are up to no good, but this season underutilized some baddies. In the beginning of the season, Wynn Duffy (Jere Burns) and Boyd teamed up to move heroin. It appeared that Mr. Duffy would play a big part in the criminal underworld, but then he stayed in hiding where it was safe. He probably didn't want to get tortured by the Mexican cartel, fuming because of all the trouble Boyd and Daryl caused getting the product across the border.
Ava Crowder (Joelle Carter) spent the entire season locked up for trying to dispose of a dead body in season four. Although she was no use to the outside world, her prison adventures were an interesting side story this season. However, the presence of the cartel was completely wasted. Yes, the three members played a prominent role in the finale, but they could have evolved to be the main antagonists. And only three members? Certainly they could have brought more backup. If there had been more members, Boyd wouldn’t have outsmarted them by luring Marshals Rachel Brooks (Erica Tazel) and Tim Gutterson (Jacob Pitts) to Ava's house. The cartel members all died on the front porch after a shootout.
Raylan Never Got His Hands Dirty
Rough outlaws such as the Crowes usually meet their maker after Raylan pulls the trigger. Not so this season. Danny Crowe (A.J. Buckley) actually faced off against Raylan, but accidentally killed himself when he misstepped and pierced his neck with his own knife. The big showdown between Raylan and Darryl never materialized as Wendy Crowe (Alicia Witt) shot her own brother. Raylan wasn't even there to take down the cartel members. Kind of anti-climactic.
Boyd’s Big Brain and Big File
Finally, Boyd will be brought to justice. Or killed. Next season, Justified hits the home stretch. In the final season, we know the marshals plan to nab Boyd for his crimes. Miraculously, Boyd's intellect has saved him from death numerous times, most notably in wiggling his way out of the cartel's grasp. But the case against Boyd, represented by a thick file full of paperwork, is strong. Murder, drugs, prostitution, and other crimes will stick when Raylan and the other marshals pin all their evidence on Boyd. Anything less than a shootout or standoff with Raylan will be a disappointment.
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ABC/Adam Taylor
Phew! They're finally over. The Academy Awards sure felt like a marathon this year. With about three too many montages honoring any and everything in movies (I think there was even an ode to sticky movie theater floors), a band that seemed really trigger shy about playing off some of the longer speeches (which is a good thing and a bad thing), and the many musical performances, the Oscars stretched all the way into early Monday for those of us on the east coast. The one saving grace was Ellen DeGeneres who more than capably handled the proceedings. Here's what we thought of her various gags during the show.
The MonologueWhile Seth McFarlane layed on the theatrics in such thick globs for his monologue last year, Ellen DeGeneres took more of a classic route. The Oscar hosting veteran was sitting right in her comfort zone, flicking off nuggets of wit with ease and showing the world that she's definitely an old pro at this. Some of the best jokes included YELLING AT JUNE SQUIBB, insisting that she wouldn't bring up Jennifer Lawrence's mishap with a traffic cone before the show, and a 12 Years a Slave gag that really woke up anyone whose attention started to drift towards the end of the opening. Ellen delivered an self-assured and funny monologue that walked a fine line between gentle ribbing and hard hitting jokes. She wasn't wearing the kid gloves, but she wasn't pulling her punches either. Grade: A- (Sub-Tina/Amy, but good)
The Pizza GagIn what was the longest gag of the night, Ellen delivered a delightfully absurd routine about ordering pizza that ran through the entire show. Towards the beginning of the broadcast, DeGeneres asked the audience if they wanted to split a pie in what we thought was just a one-off joke. But later on in the show, the pizza actually arrived with Ellen and a delivery boy handing out slices to the denizens of Hollywood. It turns out that stuffy award shows really makes you hungry, and the audience seemed pretty ravenous, grabbing at the slices like pizza was some kind of foreign and novel concept to them all, designer dresses and tuxes be damned. (If you listened closely, you could hear Vera Wang screaming in the distance.) The bit returned for one last time when Ellen grabbed Pharell's mountie hat and askd for everyone to chip in. Harvey Weinstien forked over 200 bucks, but Brad Pitt could only manage a measly 20 dollars (get it together, Brad, you're on TV) and Lupita Nyong'o shared some lip gloss (that's Academy Award-winning lip gloss now). The joke might have overstayed it's welcome, but who knew celebrities would get so excited over pizza? They really are just like us!Grade: B+
Lottery Tickets for LosersAfter the Best Supporting Oscar was awarded to Jared Leto, Ellen wandered over to Bradley Cooper and gave him two whole lottery tickets as a consolation prize for losing the award, and a quarter (which she needs back) to use on the scratchers. The lottery ticket joke was a quick little diddy of a gag that fit snugly in with the theme of the rest of her show. We have exclusive info through some inside channels that Cooper reportedly won a "try again next time" from the tickets. Grade: B
The Selfie Tweeted 'Round the WorldWhen Ellen says she's going to take the most retweeted selfie ever, she's not joking around. The host enlisted Merryl Streep to take a selfie with her, which led to pretty much every actor in Hollywood crowding around a single phone to get into the shot. After some awkward jostling, and negotiating on who should actually take the picture (Bradley Cooper had the longest arms) the pic was finally taken and shared with the Internet, where it quickly broke Twitter. It was Streep's first tweet, and it dismantled an entire social network. The woman does have 18 Academy Award nominations, so I guess we should have expected her to be the best tweeter ever. #StreeptweetGrade: A-
Everything ElseEllen was never away from the screen for too long during the show, constantly popping up for a quick joke or two in between the awards and the near infinite amount of montages. She offered some quick riffs about her slew of outfits, bantered with bemused celebrities, and filled her time on screen with various non sequiturs that received good chuckles over just how cute yet slightly bizarre they all were. Some of them had us scratching our heads (exactly why was she holding a guitar while introducing Kate Hudson and Jason Sudeikis?) but on the whole, most of them worked wonders.Grade: B
OverallEllen hosted a fun and slightly off-kilter yet stripped down Oscars telecast that lacked the theatrics. She was consistent bright spot in an awards ceremony that went on a bit too long for comfort. Ellen had an easy confidence about the whole ordeal, and the bits didn't feel too forced or too self involved. Best of all, she made the awards fun for the celebrities in the audience, and actually made them relatable to those of us watching at home. Who can resist the allure of a selfie or a greasy slice of pizza? Not you or me, and certainly not Brad Pitt or Kevin Spacey. It wasn't outrageous like say, Seth McFarlane's gig last year, but it was certainly classic Ellen.Grade: B+
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Actor Jon Cryer has saved himself $80,000 (£50,000) hike in his child support payments after a Los Angeles judge rejected his ex-wife's petition for extra funds. Sarah Trigger filed the request in October (13), alleging the former couple's 13-year-old son, Charlie Austin, had become a subject of ridicule at school because he could no longer keep up with his wealthy school friends, whose parents take them on "exotic vacations" and throw lavish parties, on the $8,000 (£5,000)-a-month his mum receives from his dad.
She also attempted to justify a bigger cheque by claiming that she now looks after Charlie 50 per cent of the time, instead of the four per cent she had previously spent with her child.
However, a judge dismissed Trigger's arguments in court on Wednesday (29Jan14), insisting there had been no change in circumstances that would require a big boost in child support, reports TMZ.com.
The Two and a Half Men star, who divorced Trigger in 2004, was ordered to give his ex monthly payments of $8,000 in 2011.
Cryer is also a dad to daughter Daisy with Lisa Joyner, his wife of seven years.

ABC
There were entrepreneurs in the Shark Tank halls. Would they find excellent deals under their Christmas trees or would Mr. Wonderful leave them a lump of coal? It was the Christmas episode, in case you hadn't figured it out yet.
First
The first entrepreneur in the tank was Shawn Genenbacher, who was pitching Lite-netics. He wanted $125,000 for 15%. These were magnetic light strands that were supposed to whittle time spent putting up Christmas lights down to next to nothing. He was selling them for both residential and commercial use and he'd been at it for four years, averaging about $100,000 per year. The Sharks picked up immediately that there were scaling problems. The lights were too expensive to make, too, since the fact they were magnetized drove the production costs up. His lights were also way more expensive than his competitors. He also didn't do the best job presenting, stammering answers on multiple occasions. One thing that he did have in his favor was that it was patened. No one could copy it. Sensing an opportunity, Kevin O'Leary made an offer for $125,000 for 50% of the company. Robert Herjavec, Mark Cuban and Lori Greiner got out fast, ensuring no protracted bidding process. Greiner also pointed out that the bulbs were too big, since most people were buying icicle lights. Daymond John got in the act and offered $125,00 for 40%. Genenbacher declined both their offers, and the Sharks declared that he would never make any headway in the market.
Second
Next in the tank was Morri Chowaiki, pitching the Hannukah Tree Topper, an ornament for interfaith families. He wanted $50,000 for 15%. He'd made $150,000 ... in three seasons, which caused the Sharks to groan. Several of the Sharks deemed it non-proprietary and the sales too dismal. O'Leary and Greiner were out in quick succession. It even seemed like hell froze over, since Greiner agreed with O'Leary's assessment. She's usually too busy insulting him. John didn't like Chowaiki's jugement but offered $50,000 for $35K. Chowaiki was hemming and hawing, which made me flash back to that idiot that was selling the individual wine glasses who screwed up not once but twice on the show. After a dramatic pause, he held mistletoe over his head and accepted the deal with John.
Update
It was about the Ruckpack , which had been on a previous Shark Tank. It was doing really well, it had secured a $4 million deal with Walgreens, all with help from Herjavec and O'Leary.
Third
The third entrants in the tank were Rachel Bernstein, a former model, and Melissa Barone, an expert on hair extensions, of Cashmere Hair Girls of Beverly Hills. They wanted $45,000 for 15%. They were selling hair extensions for $399. It was high quality Indian (the country India, not Native American) hair and it came in seven strips that had clips that were easy to take on or off..They'd made $38,000 in sales in six months. Cuban was out first. O'Leary was next. John followed suit, but not before first having to calm Barone down, who was nearly hyperventilating. Greiner liked the idea of hair parties. Herjavec agreed, but didn't see it worth investing in and he was out. Greiner was then out. No deals. Bernstein had to console Barone outside the Tank.
Fourth
The last people in the tank were Evan Mendelsohn and Nick Morton for Tipsy Elves. They were selling really, really ugly holiday-themed sweaters (it was mostly Christmas, but they also had Hannukah-themed items), ranging from Santa riding his sleigh upside down to gingerbread men running from a giant Santa hand reaching for them. Cuban had this look of disgust as soon as he saw them and O'Leary said what Cuban was thinking: "These are hideous." Undeterred, the two men wanted $100,000 for 5%. Surprisingly, they had made over $1 million in two years, mostly online. They wanted to move to retail, which most of the Sharks shot down as a bad idea, since it would require tremendous overhead, like warehouses the size of a couple of blocks. Cuban was out. O'Leary made an offer, $100,000 for a royalty of $2 per sweater until the money was paid back and then $1 in perpetuity - but no equity. Herjavec offered $100,000 for 10%. John thought about making an offer, but couldn't pull the trigger. They accepted Herjavec's offer.
Another .500 night for people making deals. Of course, these handshake deals all have to pass through due diligence, so there's no guarantee that further down the road, the deals didn't fall through. Still, it was a better night than some, though there didn't seem to be as much jockeying amongst the Sharks as there has been in previous episodes. My perception may have been colored by my shock at Greiner agreeing with O'Leary, though. There won't be a new episode until Jan. 10.
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Showtime
When the newest season of Homeland began, it was a known fact that Nicholas Brody was a wanted man. The war hero turned suspected terrorist had been pinned as the trigger man for the CIA bombing in Langley, VA. Brody became a man on the run.
How would the writing team on Homeland keep its main character involved on the show? The answer: they haven't. So far, Brody has been on one episode. Granted, the entire episode was about him, but shouldn't he be featured a lot more? Damian Lewis won an Emmy for Lead Actor in a Drama Series in 2012, so where the hell is this guy?
Once Brody became outed as a traitor, Homeland did an excellent job keeping him part of the show. Without him, the show has become unglued. The appeal of Homeland was the chase of an American who turned his back on his country. Without that betrayal, it's just CIA agents chasing bad guys.
Saul, Carrie and Quinn’s chase is still worth watching. The inclusion of Brody is coming soon, though. Carrie (Claire Danes) believes Brody is innocent. Despite not being in contact with the infamous American, she has tried to unravel clues to clear his name.
It is only a matter of time before the CIA gets all the evidence to bring Brody back in the fold. The most intriguing plot is still on the horizon. Carrie is pregnant and Brody is probably the father.
Then again, Carrie is a promiscuous woman, so it could be anybody's. Still, the betting money's on Brody as the daddy. Imagine the juicy drama that would unfold if news came out to the public that a CIA agent has been knocked up by a suspected terrorist?
Homeland needs Brody. It's been too long already.
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ABC
Mission Briefing: This week's malady involves a separatist group from South Ossetia that has built a weapon called "The Overkill Device," which can trigger missiles and nuclear weapons from a great distance. The device will seriously complicate any outright assault that S.H.I.E.L.D. makes on them. A two-man team is needed to move in and disable the device covertly. Too bad the agents chosen don't know it's a suicide mission.
The Agents:The unlikely pair of Fitz and Agent Ward need to get over their differences in order infiltrate the separatist base and stop the attack.
Mission Fallout: Fitz and Ward are able to stop "The Overkill Device" but not before getting in some quality male bonding in a Russian drainpipe. It’s nice to see the show pair together characters in ways we haven’t seen yet. Fitz is quickly turning into the show’s most dynamic character. Meanwhile, Skye and Simmons seek out more information on Fitz and Ward's mission but realize that S.H.I.E.L.D didn't provide any extraction plans for the two agents. Good thing Coulson calls in the cavalry for a quick extraction without S.H.I.E.L.D.'s say-so. We also learn more about Skye’s past via the redacted S.H.I.E.L.D. file. Coulson still knows some intel that he isn’t ready to give to Skye just yet. Plus, Coulson starts to pry into his mysterious resurrection, but finds that there's some information that not even he has access to.
Mission Highlights:-It's great to see the S.H.I.E.L.D. organization expanded with the introduction of The Hub. Sometimes it can feel like the whole of S.H.I.E.L.D. is only made up of Coulson and his crew on the jet. Hopefully the new characters and the organization at large gets featured more in upcoming episodes.-Simmons failing at flirting and then shooting a superior officer with the night-night gun is fun, but are there ever any consequences for breaking the rules at S.H.I.E.L.D.? Shooting a higher-up with a tranquillizer should at least involve a meeting with HR.-It’s nice to see Skye reacting wearily to S.H.I.E.L.D.'s Draconian protocols while everyone else readily excepts them. Her perspective gives the show and the S.H.I.E.L.D. organization some much needed grey areas.
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